Q&A on Learning Nihon Buyō

T.T.T.を通して海外の方に日本舞踊を教える機会をいただきました。海外の方は日本文化に強く関心があり、その探究心にいつも感化されます。

こちらは海外から研究の為に来日された、杭天然さんです。

T.T.T.*の発表会を観に来られ、日本舞踊へ興味をもち教室に通われています。一年という限られた時間でとても熱心に取り組まれております。

日本語でもお話ししますが、彼女がどのようにお稽古に取り組んでいるのか気になり、今後の為にもお話しを聞かせていただきました。

*T.T.T. (Traditional Theater Training)

伝統芸能トレーニング・プログラム

杭　天然(ハン　ティエンラン)

Hang Tianran is a PhD candidate in the field of Japanese religions at Columbia University in the City of New York. Her dissertation examines the transformation of the image of “oni” through medieval Japan, with a focus on the developments in Onmyōdō, Buddhism, and folk practice that shaped the cosmological understanding of the premodern Japanese people.

⭐︎Interview

Wakayagi Biten →  Hang Tianran

 

Q1: What made you interested in learning Nihon buyō? 日本舞踊を習おうと思ったきっかけを教えてください。

 

A: I didn’t know much about Nihon buyō at first. I associated Nihon buyō with the dances of Geisha––beautiful dances that accentuate female elegance, and didn’t think it was something for me. I couldn’t have been more wrong. At the recital of Traditional Theater Training in 2023, I got to see what Nihon buyō truly can offer. Yes, there were dances that highlight the allure of an idealized female body, but there was also so much more. There were dynamic dances with fast tempo that were like an explosion of energy on stage. Then there were spectacular displays of fan techniques where the fan twirling around the fingers of the dancer looked as if it was flying with a life of its own. Nihon buyō shares with many other traditional Japanese performing arts its relative simplicity in terms of props and stage sets, but the live stage exudes such an enthralling power of expressiveness that I was immediately taken by it, transported to a different time and space created by the sheer movements of the dancers. That is when I decided that I wanted to learn Nihon buyō as well. I wanted to know how to do those impressive fan techniques myself! And more importantly, I wanted to feel that power of the stage again, not just as a viewer but also as a dancer of Nihon buyō.

 

Q2: Have you learned any other forms of dances up to this point? 今までに舞踊やダンスを習ったことはありますか？

 

A: I took a combined dance class that had both ballet and Chinese folk dance as a child for 2 years, from 5 to 7 years old. My mom sent me there hoping that I could learn to have better posture. But I didn’t continue dancing after starting primary school.

 

Q3: What are the differences can you tell between the dances you know and Nihon buyō? What about similarities? ２の質問である場合、または知っている踊りと日本舞踊の違いを教えてください。また、共通点はありますか？

 

A: Since I’m not an expert on any dances, I can only tell from my limited understanding. The biggest difference I felt when learning Nihon buyō is that it is very “restrictive” of body movements. What I mean by restrictive is that Nihon buyō often emphasizes maintaining certain tension of the body instead of stretching the body. Most forms of dances I’ve learned before often involves a lot of stretching in preparation, and put a strong emphasis on flexibility: it’s about how high you can kick up your leg or how far back you can bend your back. None of these exist in Nihon buyō. Instead, I am constantly reminded to keep my half squatting leg positions as I move, and to keep my elbows close to my body even when I am raising my arms.

But there are also similarities between Nihon buyō and other forms of dances. To me, the biggest thing in common is how physically demanding all of the dances are. Before trying Nihon buyō myself, I thought that with the general slower-looking movements, Nihon buyō wouldn’t be too exhausting. The reality is that I am always soaked in sweat after an hour-long lesson. The good news is that I am also gaining muscles fast from all the practice!

 

Q4: Tell us what do you enjoy learning Nihon buyō and what do you find challenging? 日本舞踊のお稽古で楽しい部分、難しい部分を教えてください。

 

A: Learning to do fancy fan techniques is always very fun. The most enjoyable part about learning Nihon buyō, however, is imagining the scenes that the dance moves intend to convey. There is always a story in the dance, and to learn about the story, become the various characters, and experience it through the dance is always something I look forward to in my lessons.

As for the challenging part, for me it is no doubt the half-squatting position 腰をいれる. This position is meant to create a more stable stance, and I need to keep this through the entire dance. Having never in my life tried to do this, this has proven to be quite exhausting. But through practice, I’ve noticed that my stamina has been steadily growing, and my legs are getting stronger! Hopefully one day, keeping the half-squatting position will no longer be challenging.

 

Q5: Have you noticed any changes after practicing Nihon buyō? Either in your life or in the way you think? 習い続けてみて、始める前と何か変わったことはありますか？（生活又は精神的に）

 

A: The most visible change is how much muscle I’ve gained in my legs! Before learning Nihon buyō, I was not a person very keen on getting exercises (never did I ever go to a gym...), but now, not only have I noticed my body getting stronger through the practices, I have also developed a growing willingness to keep moving my body on a daily basis. I also pay more attention to my posture, as my mom wished so many years ago. Another important change is both physical and intellectual. Since all Nihon buyō training is done wearing a kimono, I think I have also gained a level of comfort that I can conduct myself more properly in a kimono, instead of being the clumsy foreigner that immediately stands out. This also allows me to understand better the traditional Japanese aesthetic ideals for women in kimono, an experience I could not have had otherwise.

 

Q6: What did you find difficult when you were learning the dance “Kurokami (Black Hair)”? 『黒髪』をお稽古して難しかった所は？

A: Overall, the slower pace of the entire dance makes it rather challenging. My legs get tired faster for holding the same position for extended time, and I often find myself not squatting enough and losing balance during the dance. There are also quite a few new techniques that I get to do for the first time in “Kurokami.” The hardest for me is the “futokoro-de” where I need to hide my hand completely in the kimono sleeve in the split second of turning around. I often find my arm stuck in strange positions and even after months of practice, my success rate is still only 60 percent.

 

Q7: What are the charms of “Kurokami” after you have learned the dance? What do you think of the content of the dance? 『黒髪』を踊る上で魅力に思う所は？内容はどうのように感じますか。

 

A: For me, the charms of “Kurokami” comes from its complexity, because it is trying to deliver not only what the eyes can see but also “the heart of a woman” that the eyes cannot see. For this purpose, the slow, contemplative movements of the dance make a lot of sense. In doing the dance, I noticed that a lot of the times as the character, I am not looking at where my eyes turn to but staring into an imagined memory, into the past of this woman who just sent her lover to marry someone else for his future. The dance traces her mind as she spends the night in her lover’s absence, starting with her looking at her own reflection in the mirror and recalling fond memories of the past. Through the night, her heart struggles between longing for her lover and determination to send him away. But at the end of the dance, as she wakes to the sound of temple bell in the morning, and her eyes look to the snow that is piling up outside. Her mind returns to the present, her conflicted emotions give way to silent yet firm resolution. Before learning the dance, I had read the lyrics of “Kurokami” before and thought it was simply a song about fleeting human affection and the impermanence of the world. But the dance adds so many additional layers to that sentiment, and what I am most impressed by this dance is how it shows the strength of a woman, her struggles and complexity included.

 

Q8: Tell us about your experience after having done both regular practices and a recital. お稽古と発表会を経験してどんなことを感じましたか。

 

A: The regular lessons are one-on-one so while I do get to enjoy the full attention from my sensei, I have few opportunities to meet with fellow students of Nihon buyō. Preparing for the recital allows me to practice dancing with a partner, getting to know my peers and learn from each other as we plow through rehearsals together.

Having the recital coming up also gives additional purpose to the regular practices, like having a goal to aim for when you are in a race. The nervousness leading up to the stage melts away into excitement when I’m actually performing to a real audience. Nothing beats the magic of a live stage where the energy from the performers and the audience feed into each other. I get to experience the power that I felt when I saw Nihon buyō for the first time, but this time I am on the stage!

 

Q9: What are your reasons wanting to continue learning Nihon buyō? 日本舞踊を続けたいと思う理由を教えてください。

 

A: There are many reasons: I appreciate the amount of physical exercise I get from practicing, I find the Nihon buyō stage very aesthetically pleasing, and I love the community of students and teachers. But most importantly, I’m drawn to the stories told by the dances, each of them taking me to a whole new world in a different time and space.

 

Q10: What is Nihon buyō to you?　あなたにとって日本舞踊とは？

 

A: To me, Nihon buyō is the link that connects me to both the past and the present of Japan. Many of the dances in the repertoire narrate stories from ancient histories, and I get to experience those stories intimately through learning the dances. Also, Nihon buyō also allows me to get to know the community of professional dancers and students, and connect with all the interesting people with various backgrounds who are all gathered by our shared interest in Nihon buyō. As an international student, there is no better way to learn about Japanese culture than hands-on experience like this.

インタビュー【和訳】はこちら